Nietzsche, Tension, and the Tragic Disposition by Tones Matthew

Author:Tones, Matthew
Language: eng
Format: epub
Tags: undefined
Publisher: Lexington Books
Published: 2012-03-15T00:00:00+00:00

Harries uses the term ‘warning markers’ to denote the danger of crossing a boundary to the unknown that Hercules had established, and in Dante’s Inferno (Canto XXVI) Ulysses (Odysseus, the deceiver of Troy from Homer’s Iliad, another Nietzschean influence) passes by the ‘boundary stones’ (which referred to Gibraltar, the ‘Pillars of Hercules’), that symbolized the limits (‘boundary’) of the Greek world at the time (Plato also discusses this in the Timaeus). This is important because even the noble Greeks (the Argonauts themselves were all Greek heroes)[3] had to depart from what was essentially Greek to find new lands, the entirely foreign, a ‘new India’. This new “strange, tempting, dangerous ideal … the ideal of a spirit who plays naively—that is, not deliberately but from overflowing power and abundance” (Harries 1988, p. 40) offers the first glimpse, in the figure of the Argonaut, to the connection between playfulness and journey. These journeymen reveal a glimpse of the Nietzschean noble spirit in their opposition to:

those supreme things that the people naturally accept as their value standards, signify danger, decay, debasement, or at least recreation, blindness, and temporary self-oblivion; the ideal of a human, superhuman well-being and benevolence that will often appear inhuman—for example, when it confronts all earthly seriousness so far, all solemnity in gesture, word, tone, eye, morality, and task so far, as if it were their most incarnate and involuntary parody—and in spite of all this, it is perhaps only with him that great seriousness really begins. (Harries, 1988, p. 40)

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